Show-Case Five Piano Pieces 齐尔品．亚力山大 钢琴小品 钢琴独奏 博浩版

所有巴黎艺术界人士都知道阿莫斯夫人，她是当代绘画、艺术，尤其是音乐的伟大赞助人。她收藏的绘画和艺术品举世闻名。她的兴趣和主动性促成了许多艺术作品的诞生。特切列普宁希望用音乐表达他对阿莫斯夫人陈列柜中的小雕像的印象。这首乐曲创作于 1946 年，由五个乐章组成。第一乐章的灵感来自于陈列柜中的一组玻璃微型灰狗，它们矗立在一头巨大的瓷奶牛旁边。这种对比激发了作曲家的灵感。在生活中，我们的热情常常会被像奶牛一样平和的东西所阻挠！第二乐章展现的是螃蟹。我们可以想象两只螃蟹从远处看到对方，然后向后靠近。有两个版本：一个是儿童版本，螃蟹互相吞噬（这符合动物学规律）；另一个是成人版本，我们留给他们想象的空间，这同样符合自然规律。假设发生的是第二种情况，那么螃蟹旁边的青蛙就会开始说闲话，从而丑化展柜里的所有生物。特切列普宁宣称，这只大瓷鹿即使不是阿莫斯夫人收藏中最美的作品，也是最美的作品之一。特切列普宁在欣赏这只鹿时想起了一件事：战前，他在奥地利玛丽亚采尔附近的哈根古特森林里的朋友阿尔弗雷德-冯-波拉达的庄园里度过了几天假期。平静地走在森林里的特切列普宁突然发现自己面前有一头鹿正朝自己的方向走来。两人都停了下来，凝视着，但只有几秒钟。多亏了音乐，我们才知道特切列普宁的想法，但我们永远不会知道鹿的想法，鹿迅速地逃走了"

作曲家: Tcherepnin, Alexander
乐器: piano
出版社: Boosey & Hawkes

曲目:
The Greayhounds and the Cow - The Crabs - The Frog - The Weasel - The Deer

原文简介:
All artistic Paris knows Madame Amos, a great patron of contemporary painting, of art in general and music in particular. Her collection of paintings and objects d'art is world famous. Her interest and initiative are responsible for the creation of many works of art. Tcherepnin wanted to express in music his impressions of the figurines in Madame Amos' show-case, which was composed in 1946 and consists of five movements.The first movement is inspired by a group of miniature greyhounds in glass, which in the show-case stands next to a massive porcelain cow. the greyhounds are full of action, whilst the cow is placid. This contrast inspired the composer. How often in life is our enthusiasm thwarted by something as placid as a cow!The second movement presents the crabs. We can picture two crabs seeing one another from afar and approaching each other backwards. There are two versions: one for the children wherein the crabs devour one another (which is true to zoological law), the other for adults, which we leave to their imagination, and which is equally faithful to the laws of nature. Assuming that the second version takes place, the frog which is next to the crabs begins to gossip, thus scandalizing all the creatures in the show-case. The uproarious noise of the poultry, followed by the scurrying of the weasel provides the rhythm for the fourth movement.Tcherepnin declares that the big porcelain deer is one of the most beautiful pieces, if not the most beautiful, in Madame Amos' collection. The contemplation of the deer reminded Tcherepnin of an incident which he relates; it was in Austria in the forest of Hagengut near Mariazell where, before the war, he spent a few days' holiday on the estate of his friend, Alfred von Porada. Walking peacefully in the forest Tcherepnin suddenly found himself confronted by a deer advancing in his direction. Both stopped and stared, but only for a few seconds. Thanks to the music we shall know the thoughts of Tcherepnin, but we shall never know those of the deer, which swiftly fled.